Name: Prey for the Devil
Genre: Horror, Thriller
Released: 2022-10-23T00:00:00+00:00
Cast: Jacqueline Byers, Colin Salmon, Christian Navarro, Lisa Palfrey, Nicholas Ralph

The opening shot of Prey for the Devil is a close-up of Sister Ann’s face, her eyes wide with terror as she stares into an unseen abyss. It’s a strong hook, but one that immediately raises questions: Is this fear rooted in faith, or something far more personal? The film, directed by Daniel Stamm and starring Jacqueline Byers as Sister Ann, attempts to carve out a niche in the crowded exorcism horror genre by centering its narrative on a female protagonist. Unfortunately, the execution falls short of its ambitious premise.

The film’s central conceit—a global rise in demonic possessions leading the Catholic Church to reopen exorcism schools—is intriguing. Byers delivers a committed performance as Sister Ann, a nun thrust into the spiritual frontlines alongside Father Dante (Christian Navarro). The dynamic between Ann and Dante is one of the film’s stronger elements, with Navarro bringing a grounded intensity that contrasts well with Byers’ more fragile yet determined portrayal. Their chemistry is palpable, and their shared scenes are some of the most engaging in the film.

However, Prey for the Devil struggles to differentiate itself from its predecessors. The plot follows familiar beats: disturbing visions, secret archives, and a climactic exorcism. While the film attempts to inject freshness through its focus on gender dynamics within the Church, these moments often feel heavy-handed rather than organic. The demon’s taunts about clerical sexism, while thematically relevant, come across as forced rather than integrated naturally into the narrative. This thematic heavy-handedness is a recurring issue, with the film often prioritizing message over atmosphere.

The film’s pacing is another critical flaw. The first half moves slowly, bogged down by exposition and setup. While this allows for character development, it also makes the runtime feel bloated. Stamm, who previously directed The Last Exorcism, seems more interested in exploring the psychological toll of exorcism than in building tension. This shift in focus is commendable but ultimately detrimental to the film’s horror elements.

The second half picks up with some genuinely unsettling moments, particularly a scene where Ann is trapped in a room with an elderly possessed patient who dances with her against her will. This sequence is visually disturbing and effectively uses sound design to build tension. The use of close-ups and claustrophobic framing heightens the sense of dread, making it one of the film’s most effective scenes.

Yet, even these stronger moments are undermined by the film’s reliance on jump scares rather than sustained dread. The demon itself lacks a distinct personality, making its interactions feel generic and predictable. Virginia Madsen, in a small role as Dr. Peters, brings a welcome gravitas, but her character is underutilized. Colin Salmon as Father Quinn and Ben Cross as Cardinal Matthews provide solid support, but their roles are largely one-dimensional.

The film’s climax, while emotionally charged, feels rushed. The reveal that the demon possessing Natalie (the possessed girl) is the same one that once possessed Ann’s mother is meant to be a gut punch, but the emotional weight is diluted by the abruptness of the revelation and the subsequent resolution. The final scenes, which hint at an ongoing battle with evil forces, feel more like setup for a sequel than a satisfying conclusion.

Prey for the Devil isn’t without merit. It has moments of genuine chills and a commendable attempt to subvert genre tropes by placing a woman at its center. However, these elements are not enough to elevate it above the myriad other exorcism films that have come before. The film’s attempts to explore themes of faith, gender, and redemption are admirable but ultimately feel tacked on rather than seamlessly integrated.

The film is likely to appeal to fans of exorcism horror who are looking for something slightly different from the usual fare. However, those expecting a fresh take on the genre will be disappointed. The performances by Byers and Navarro are strong points, but they are not enough to carry the film through its weaker moments.

In the end, Prey for the Devil is a passable exorcism horror that doesn’t quite live up to its potential. It’s a film that tries to say something meaningful about faith and gender but ultimately gets bogged down in familiar tropes and pacing issues.